stage. Before the end of the century, it had been acted more than 1200 times in Germany and Austria. An adaptation of the play, by the present writer, was produced at the old Gaiety Theatre, London, for a single performance, on the afternoon of December 15, 1880—this being the first time that Ibsen's name had appeared on an English playbill. Again, in 1889, a single performance of it was given at the Opera Comique Theatre; and yet again in May 1901 the Stage Society gave two performances of it at the Strand Theatre. In the United States it has been acted frequently in German, but very rarely in English. The first performance took place in New York in 1891. The play did not reach the French stage until 1896, when it was performed by M. Lugné-Poë's organisation, L'Œuvre. In other countries one hears of a single performance of it, here and there; but, except in Scandinavia and Germany, it has nowhere taken a permanent hold upon the theatre.
Nor is the reason far to seek. By the time the English, American, and French public had fully awakened to the existence of Ibsen, he himself had so far outgrown the phase of his development marked by Pillars of Society, that the play already seemed commonplace and old-fashioned. It exactly suited the German public of the 'eighties; it was exactly on a level with their theatrical intelligence. But it was above the theatrical intelligence of the Anglo-American public, and—I had almost said—below that of the French public. This is, of course, an exaggeration. What I mean is that there was no possible reason why the countrymen of Augier and Dumas should take any special interest in Pillars of Society. It was not obviously in advance of these masters in
